“Yoheho~, yoheho~.”The “Yamaga Lantern Festival” features about a thousand women dancing gracefully to the folk song “Yoheho-bushi.” The lights flickering above the dancers’ heads are Yamaga lanterns, traditional crafts. Hirotaka Nakajima is the fourth-generation master of Yamaga lantern making. While grounded in tradition, he is not afraid to adapt to the times.

The ethereal lights flickering above the dancers’ heads are traditional crafts

————No bones, no flesh, Yoheho, Yoheho————

The “Yamaga Lantern Festival” features approximately 1,000 women dancing gracefully with supple movements to the folk song “Yoheho-bushi.” Held every August, it is a major event in Yamaga City that typically attracts over 100,000 visitors annually. Legend has it that the festival originated when the villagers of Yamaga guided Emperor Keiko, the 12th emperor, who had lost his way in thick fog, by holding torches aloft.​​The source of the fantastical light flickering above the dancers’ heads in the darkness of night is the “Kin-tōrō,” a type of Yamaga lantern that is a traditional craft.Although they appear to be made of metal from a distance, they are actually made of paper. Without using any wood or metal fittings, they are assembled into three-dimensional forms using only Japanese paper and a small amount of glue, weighing a mere 180 grams. Achieving the substantial and luxurious appearance that defies belief that they are made of paper requires exquisite craftsmanship, and their creation is entrusted to artisans known as “lantern masters.”

Hirotaka Nakashima is the fourth-generation member of a family of lantern makers with a history spanning over 100 years. While his great-grandfather and grandfather ran both a lantern-making business and a clock shop, his father’s generation focused solely on lantern-making, and today he operates “Yamaga Lantern Shop Nakashima,” a specialty store along the Buzen Kaido.Born as the second son in a family of lantern makers, Nakajima worked as a company employee until the age of 33. However, realizing that the craft would die out if none of his brothers took over the family business, he made a determined resolution. He became his father’s apprentice, entered the path of lantern making, and has continued on that path to this day.

He switched careers from a different industry and mastered the craft under his father, his master

Making the career switch from a different industry was not easy. Although he had watched his father create lanterns up close since childhood and had been training even before the switch, the skills of a traditional craftsman are not easily acquired. The production of Yamaga lanterns involves a continuous series of meticulous tasks that cause pain in the fingertips, eye strain, and stiff shoulders. It requires extraordinary concentration and perseverance. Moreover, he received relentless criticism from his father, his master.“But looking back now, I’m grateful to my father for treating me as a disciple rather than going easy on me just because I was his son,” says Nakajima. To be recognized as a lantern maker, one must undergo about 10 years of apprenticeship and have one’s skills acknowledged by other lantern makers. Nakajima received his certification in 2017, after he had already entered his 40s.

Yamaga lanterns feature traditional styles, including the aforementioned gold lanterns, as well as “Miyazukuri” (shrine-style), which takes inspiration from shrine and temple architecture such as main halls, gate towers, and five-story pagodas, and “Zashikizukuri” (parlor-style), which mimics traditional Japanese houses.In addition, there are many works created by the lantern makers themselves, resulting in a diverse and extensive range of styles. These are primarily used for the “dedicatory lanterns” described below, and some are designed to be displayed without a light. Furthermore, they are often displayed in local homes as substitutes for lanterns during the first Obon memorial service, and custom orders featuring family crests are also available.

There are three criteria for Yamaga lanterns: “use only hand-made Japanese paper and starch paste,” “the main components of the lantern must be hollow,” and “do not create overlapping edges on curved sections.”Consequently, the designs are free and diverse, with examples ranging from Benkei from the *Kanjincho* to trains and battleships. Among these, the gold lanterns attract particular attention, not only because they are the symbol of the Yamaga Lantern Festival but also because they represent a rite of passage for lantern artisans. They embody the full range of skills required of a lantern artisan, and successfully completing a gold lantern is considered the first step toward certification.

A traditional craft deeply rooted in the life of the local community

The creation of a gold lantern involves endless work precise to the millimeter.Thick washi paper, onto which the design has been traced, is cut and assembled. While this may sound simple, because the lantern is hollow and lacks a framework, its shape and structural integrity must be maintained solely through the layering of washi paper. This is why the Yamaga lantern is nicknamed the “boneless lantern.” This is also the reason behind the line in the folk song mentioned at the beginning: “No bones, no flesh.”

Since there are neither bones nor flesh, even the slightest misalignment in the layered washi paper causes the structure to collapse. And to ensure a perfect fit, the washi paper must be cut with absolute precision, without the slightest deviation. A gold lantern consists of approximately 200 parts and takes about three days from preparation to completion. Hearing Mr. Nakajima say, “To create a Yamaga lantern, you need the perseverance to see it through without losing focus,” I find myself nodding in agreement once again.

The lanterns made in this way are placed atop the dancers’ heads and are also used as dedication lanterns. Dedication lanterns are those commissioned by neighborhood associations and other groups from lantern artisans specifically for the festival; they are so named because they are dedicated to the local Ōmiya Shrine after being displayed during the festival period. There are no regulations regarding their shape, and the motifs are decided through consultation between the group and the lantern artisan.Every year, 27 to 28 lanterns are made, and after the dedication, they are stored and displayed in the “Lantern Hall” within the shrine. They are replaced with new lanterns one year later in August. “It happens every year, but it truly makes me happy when the clients are pleased. It’s the moment when I feel rewarded for all my hard work,” says Mr. Nakajima.

To Pass Tradition On to the Future, We Must Ask Questions

Legend has it that Yamaga lanterns originated about 2,000 years ago when the 12th Emperor Keikō was on a royal tour of the Tsukushi region and his path was blocked by thick fog; the people of Yamaga guided him using torches.Afterward, the people continued to offer torches to Omiya Shrine, which enshrines Emperor Keikō, and during the Muromachi period, these torches evolved into Yamaga lanterns. Then, in the Edo period, influential figures in the town began competing to create the most lavish lanterns for their offerings, leading to the full blossoming of the Yamaga lantern culture.

Currently, there are seven active lantern makers in total. Five of them are women and two are men, with most in their 50s and 60s.There are three apprentices aiming for certification. While the number of lantern makers has remained stagnant over the past few decades, all the apprentices are in their 20s. Nakajima believes, “The future of Yamaga lanterns is by no means a situation to be optimistic about, but it’s not one to be pessimistic about either.” However, he also notes that “questions” are necessary to pass the tradition on to the future.

“I want to expand the occasions where people purchase them not just for festivals, but as traditional crafts for everyday use. If their usage is limited, the tradition will only dwindle. To achieve that, I need to ask: What kinds of products will sell? How can we make Yamaga lanterns feel more accessible to consumers…?”

By constantly asking these questions, Nakajima strives to bring new creations to the world. “By making gradual updates in line with changing times and needs, there are surely traditions we can preserve.” Continuing to craft lanterns while holding these questions in mind—it is this accumulation of effort that will carry the light of Yamaga into the next generation.

The post Asking questions and keeping the light alive. “Yamaga Lantern Shop Nakashima” – Hirotaka Nakashima / Yamaga City, Kumamoto Prefecture first appeared on NIHONMONO.

You could call him a thoroughbred. Born into the “Fumoto Kiln”—which boasts six climbing kilns, among the largest in the Kodai-yaki tradition with its nearly 400-year history—Naoyuki Inoue is the son of Yasuaki Inoue, considered a master of Kodai-yaki. While this privileged environment was a source of pride, it also meant he was constantly subject to comparison and judgment.

Is what I want to do really pottery?

The sound of firewood crackling fills the air. As the flames spread upward, seemingly racing up the slope of the climbing kiln and breathing life into the pottery, I see the history of Kodai-yaki—passed down unbroken for nearly 400 years—overlapping with this scene.

Kodai-yaki is one of Kyushu’s representative ceramics. Its origins are said to date back to 1632, when Hosokawa Tadatoshi, accompanied by potters, established a kiln at the foot of Mount Shodai in northwestern Kumamoto Prefecture.Characterized by a rustic, robust texture created using Shodai clay—rich in iron and small pebbles—and bold designs achieved by applying glazes made from local natural materials, such as straw ash and wood ash, its appeal lies in a simple yet profoundly deep presence.It was designated as a National Traditional Craft in 2003, and today, 11 kilns remain, primarily in Arao City and Minamikan Town, Tamana District.

Among them, the “Kodai-yaki Fumoto Kiln” in Fumoto, Arao City, is a renowned kiln that has produced many apprentices and boasts six climbing kilns—the largest number among existing Kodai-yaki kilns. The founder, Yasuaki Inoue, won the top prize at the Japan Folk Crafts Museum Exhibition and received awards at numerous other exhibitions; he is known as an indispensable figure in the development of Kumamoto’s traditional crafts.

Born in 1975 as Yasuaki’s eldest son, Naoyuki Inoue has incorporated his own identity into the craft’s approximately 400-year history and tradition. He is a popular artist renowned for his unique “slipware” (pottery decorated with a slip, a type of decorative clay) inspired by old British ceramics.As a child, he played with chipped pottery pieces as if they were a dollhouse set, and naturally assumed he would become a potter one day. However, during high school, he suddenly paused to reflect. Was pottery really what he wanted to do? Though he enrolled in a local design college while still uncertain, the answer remained elusive. Looking back on that time, Naoyuki lowers his eyebrows and laughs, saying, “To be honest, I was just drifting along.”

The Fusion of Traditional Kodai-yaki and Slipware

Naoyuki set out on a journey. He visited acquaintances of his brother Taishu in Tokyo, Tochigi, and Okinawa, and while he was shown pottery and workshops in each place, nothing really clicked. But for some reason, Koishiwara was different. Upon seeing the “Ota Tetsuzo Kiln,” a representative of Koishiwara-yaki, he naturally felt, “I want to study here.”After that, he spent four years apprenticing under the kiln’s founder, Tetsuzo Ota, before returning to his family’s Futomogama kiln. Feeling anxious as he watched his senior apprentices far ahead of him, he continued his training. But when he finally sat down at the potter’s wheel, Naoyuki felt at a loss. Now that he was actually in a position to create, he couldn’t see what he wanted to make.

The clue came from “pon-gaki,” one of the techniques he had learned under Mr. Ota. This decorative technique involves pouring glaze from a special container onto the surface of the vessel to create lines and patterns.Naoyuki sensed a kinship between this “pon-gaki” and “slipware”—pottery decorated with slip, a tradition originating in England—and sought “what he wanted to create” by studying old slipware and related literature. He eventually arrived at a unique style that fuses Kodai-yaki with slipware. He had found his identity within the approximately 400-year history and tradition of the craft.

Creations Born from Local Materials and Universal Designs

Naoyuki’s works utilize Kodai clay that he excavates himself. Just like traditional Kodai-yaki, he uses local natural materials: wood and straw for the ash used in glazes, and pine wood for firing fuel. Before the shaped clay has completely dried, he pours over it a mixture of clay dissolved in water, and then drips another color of clay dissolved in water from a syringe-like tool onto the surface to create patterns.

His designs are based on universal patterns selected from old British texts, which he reinterprets and reconstructs in his own unique way. This stems from his belief that “universal things have been passed down to the present precisely because people never grew tired of them.” The variations are diverse, ranging from wavy lines and crosses to shapes resembling ribbons. His free-flowing, dynamic lines reflect Naoyuki’s easygoing and carefree personality.

While Naoyuki’s style is now widely supported by consumers, he faced strong criticism when he first began, with critics claiming, “This is not traditional Kodai-yaki.” However, the words of a certain benefactor—“Even if nine out of ten people are against you, there is one who is on your side. I am on your side”—became a source of strength for Naoyuki and have sustained him to this day.

A Craftsmanship Rooted in the Earth and Fire

Naoyuki uses a six-chamber climbing kiln to fire his works. It was completed by Taishu approximately 50 years ago, in 1977. A climbing kiln, which requires continuous feeding of firewood and temperature management over several days, is much harder to control than a gas kiln. It is said that “it might take a lifetime to fully understand it” and that “the condition of the kiln determines the quality of the work.”Because conditions inside the kiln—such as temperature and oxygen levels—cannot be kept uniform, defects like cracks and warping are common; at the “Kodaiyaki Fumoto Kiln,” the yield rate remains around 60%. Even so, many ceramic artists are captivated by the beauty—beyond human understanding—woven from the ash and flames produced by the firewood. Naoyuki, however, states firmly, “I don’t want to use the climbing kiln as either the reason for the quality of my work or as an excuse.”This is because he believes that the method of firing is not what matters; rather, the quality of the finished piece itself should be the focus of evaluation.

The interior of the kiln deteriorates with repeated use. The “Kodai-yaki Fumoto Kiln” has long since exceeded its estimated lifespan of 100 firings and continues to be used while undergoing repeated partial repairs. Naoyuki is unconcerned, stating, “I’m not fixated on climbing kilns, and even if it becomes unusable, I have a plan in place, so it’s not a problem.” Yet he also acknowledges its appeal, noting, “There is a unique charm found only in climbing kilns.”

After a long period of uncertainty and inner conflict, Naoyuki has found his place within history and tradition. Now, standing beside him is his son, Ryoga, who returned to the family home in 2024 as the third-generation head of “Kodaiyaki Fumoto Kiln” after completing his apprenticeship at “Iwai Kiln” in Tottori Prefecture. Not only the tradition of Kodaiyaki itself, but also the craftsmanship rooted in a continuous dialogue with clay and fire is now being passed on to the next generation.

The post Finding identity in a history and tradition spanning some 400 years. Naoyuki Inoue of “Kodai-yaki Fumoto Kiln” / Arao City, Kumamoto Prefecture first appeared on NIHONMONO.

Located in Yahata Higashi Ward, northern Fukuoka Prefecture, the Yū Dyeing and Weaving Studio is a workshop dedicated to Kokura-ori, a traditional craft of which Kitakyushu is proud. Studio founder Noriko Tsuki continues to create vibrant Kokura-ori textiles, dyeing threads with plants and weaving them by hand. What is the source of this creativity that captivates people both in Japan and abroad?

Thick and durable. Captivating with beautiful vertical stripes.

Kokura-ori is a simple weave created by crossing warp and weft threads one by one. Its distinctive feature, however, is the high density of warp threads—used in greater quantity, approximately three times that of the weft. This makes the weft threads less visible, allowing the vertical stripes to appear sharply defined and radiate a captivating beauty.It is a unique fabric with a smooth texture, creating a three-dimensional effect through the gradations of thread color.

During the Edo period, it was used for hakama and obi. In the Meiji era, it circulated as student uniforms.

Originating in the Edo period in the Buzen Kokura domain (present-day Kitakyushu City), Kokura-ori emerged. As this region was a cotton-producing area, samurai women began weaving textiles using cotton yarn.Its thick, durable fabric gradually led to its use for samurai hakama and obi, spreading nationwide. It gained fame when Tokugawa Ieyasu wore it as a haori during falconry, earning the praise “Kokura-ori that even a spear cannot pierce” and becoming highly valued.

During the Meiji era, the gray fabric “Shimofuri Kokura,” made by twisting black and white threads, became popular nationwide as the summer uniform for male students. However, as cheap machine-woven imitations began appearing in various regions, production in Kokura waned, overwhelmed by this trend.Furthermore, Kokura flourished as an “iron town” with its steelworks, and by the early Showa period, the last Kokura-ori factory closed, leading to the discontinuation of the fabric.

A Fateful Encounter with a Scrap of Kokura-ori at an Antique Shop

Nestled in the quiet foothills of Yahata Higashi Ward, Kitakyushu City, lies the Yusei Dyeing and Weaving Studio. Its director, textile artist Noriko Tsukiji, is the person who revived Kokura-ori. Born and raised in Kitakyushu, Tsukiji, who loved literature, became captivated by the beauty of Noh costumes while studying classical performing arts like Noh and Joruri at university.

While visiting a Nishijin-ori weaving workshop in Kyoto, Tsukiji was moved by the mastery of the artisans. Yet she realized that what she truly wanted to express was not patterns, but “color.” She boldly dropped out of university and threw herself into the world of dyeing and weaving.After mastering the fundamentals of yarn dyeing and weaving at a textile research institute in Kitakyushu, he traveled to Kumejima Island in Okinawa. There, he learned tsumugi weaving by assisting elderly women at a workshop producing Kumejima Tsumugi, a fabric passed down since the Ryukyu Kingdom era.Kumejima is considered the birthplace of tsumugi, the weave that spread nationwide from there. Kumejima tsumugi is also designated as an Important Intangible Cultural Property of Japan, making it an essential place to learn dyeing and weaving techniques. However, he struggled to create a piece he felt truly satisfied with.

One day, a shocking encounter came to Tsukiji. At an antique shop she happened to visit, she found a scrap of Kokura-ori fabric. This small piece, about 10 centimeters, showed only vertical stripes despite being woven. When the shopkeeper told the astonished Tsukiji, “This is Edo-period Kokura-ori,” she only associated Kokura-ori with the gray student uniforms of her youth.The beautiful gradient of the vertical stripes, the substantial yet silk-like texture, appeared to Tsukishiro as something incredibly fresh, hard to believe it was from about 150 years ago. “To discover that the very fabric I aspired to weave existed right in the land where I was born and raised! It was such a happy encounter,” Tsukishiro says, his eyes narrowing with satisfaction.

Reviving and Regenerating Kokura Ori 

At the time, no one around him knew about Edo-period Kokura-ori. Tsukishiro had the scraps sent to the Industrial Research Institute for weave analysis. There, he learned that while most textiles have a 1:1 warp-to-weft ratio, Kokura-ori had a 2:1 ratio, meaning it had more warp threads.She immediately tried weaving with that ratio, but couldn’t achieve the smoothness of the old scrap. Further investigation revealed that the smooth texture came from years of use.

Tsukishiro sought to create fabric with a smooth texture from the start, not through aging. By using finer threads, increasing the number of threads, and raising the density, he achieved a lustrous sheen reminiscent of silk, despite the fabric being cotton. This can be seen as Tsukishiro’s “recreation” and evolution of the historic Kokura-ori. Thus, in 1984, Kokura-ori was revived. Tsukishiro began presenting his work as Kokura-ori, paying homage to his predecessors.It was precisely the instantly recognizable, vibrant striped patterns that made it widely accepted. His first work was selected for the Japan Traditional Crafts Exhibition.

However, even after successfully restoring the technique, it took three years to fully master the design of the satisfying Kokura stripes. Driven by a desire to use color more freely, unbound by traditional color schemes, he wove the pale pink obi “Plum Blossom Season,” which won the Asahi Shimbun Award at the Western Japan Traditional Crafts Exhibition in 1991.To date, she has produced over 600 pieces. Today, Kitakyushu is recognized as a center for Kokura-ori weaving, and several new artisans have emerged.

Borrowing the power of plants to express translucent colors 

Tsuki dyes cotton threads using natural materials like plants found around her workshop. “Dyeing with plants is incredibly fascinating. For example, rosemary dyes a yellowish color before the flowers bloom, but once they bloom, it dyes a stronger olive hue. Even the same plant changes color depending on the season.”

Unlike chemical dyes, plant-based dyeing takes time and doesn’t happen instantly, making it ideal for creating gradations. You can add more thread later to achieve lighter shades, and it easily reflects whims or moods, perfectly aligning with human rhythms. “Above all,” Tsukiji says, “the soft, naturally derived colors have a translucent quality.”

Preparing thousands of warp threads before weaving

Due to its characteristic of raised vertical stripes, Kokura-ori fabric has many constraints—it cannot form check or horizontal stripe patterns. “But that also means Kokura-ori’s distinctive character remains consistent. Since only the warp thread colors show, the thread’s color is directly reflected—that’s its strength. So the key is how many ‘paints’ you possess, which is why we constantly dye threads.”

Preparing these threads in advance according to the design, known as “warping,” is also a crucial process. The warp threads are arranged on the warping machine, rotated, and combined into the necessary colors while considering factors like length and tension before being wound onto the beam. Preparing around 2,300 warp threads for a single obi involves this painstaking, mind-numbing work. It is precisely this effort that produces the delicate colors.

Textiles suited to the climate and character of Kitakyushu

When Tsukiji weaves Kokura-ori on her loom, it’s not a light “tick-tock” sound that resonates, but a loud “thud-thud!”It’s a surprisingly intense sound, hard to imagine coming from such a delicately beautiful fabric. “I weave with strong force to increase the thread density. If I weave gently, the fabric becomes fluffy and lacks firmness. If I slack off, irregularities in the weave become noticeable. So once I start weaving, I just focus intently and keep going.”

“It’s a very stubborn fabric,” Tsukiji-san says with a smile. “This region, even after the tradition once faded, has stubbornly woven this difficult fabric for 400 years. It’s inflexible and clumsy—a fabric that’s quintessentially Kitakyushu.”

Modern, refined textiles captivate the world

Hand-weaving yields limited production, so to introduce Kokura-ori to more people, Tsukiji launched the machine-woven brand “Kokura Shima Shima” in 2007, which she oversees. This allows for the creation of wider fabrics impossible with hand-weaving, enabling larger-scale works like furniture, interiors, and art.Collaborations with global creators like architect Kengo Kuma and Kunihiko Morinaga of the fashion brand ANREALAGE consistently draw the attention of highly discerning individuals.

However, Tsukiji’s core focus remains hand-weaving in the workshop. “No matter how many colors overlap, I aim for a world where colors respect each other, playing a symphony,” Tsukiji states. While he has expressed abstract worlds through Kokura weaving until now, over the past two or three years, he has been challenging himself to incorporate concreteness within them. For example, within vertical stripes, a single diagonal line like rain falling…”Inorganic vertical stripes and organic natural elements seem incompatible, but I want to bring that into the world of vertical stripes. I’m still in the prototyping phase, but I hope to complete it someday.”

Tsukiji-san restores and revives Kokura-ori while seeking new forms of expression. The world eagerly awaits what new beauty will emerge from Tsukiji-san’s meticulous, refined Kokura-ori, woven with such expansive sensibility.

The post Ogura-ori, expressing delicate colors through vertical stripes. Yusei Dyeing and Weaving Studio, Noriko Tsukishiro / Kitakyushu City, Fukuoka Prefecture first appeared on NIHONMONO.

Kota Nakamura is the fourth generation of “Edo Kumihimo Tadashi Nakamura,” a 130-year-old kumihimo (braided cord) workshop, and is a Chiba Prefecture-designated traditional craftsman who mainly makes hand-knitted obi-jime and haori cords. He has won many prizes at the East Japan Traditional Crafts Exhibition, and his braided cords, which enhance the beauty of kimonos, have been well received and he has given many demonstrations at department stores and kimono stores.

Edo Braided Cords Supporting Japanese Clothing Culture

Matsudo City borders Tokyo and Saitama across the Edo River. The area around Matsudo Station, the center of the city, has a history of prosperity as a post station along the Mito Kaido Road in the Edo period (1603-1867). Despite its location amidst such scenery, Nakamura Masashi, a long-established Edo kumihimo (braided cord) shop in Matsudo that has continued to carry on the history of traditional crafts for about 130 years since the Meiji Era, is located in the area.

Edo Kumihimo passed down from generation to generation

Kumi-himo is a traditional craft with a history of about 1,400 years. As the name suggests, it is made by combining several strings of threads to create a strong cord that is easy to tie and hard to untie. It has been used for a variety of purposes, such as strings for scrolls with sutras written on them and strings for armor, but demand for obijime expanded especially in the middle of the Meiji period (1868-1912), when the o-taiko knotting style of tying obi (sash) became popular. Even today, “Edo Kumihimo,” which was refined in the old town people’s culture, continues to support the Japanese dress culture.

Nakamura Tadashi also mainly produces obijime and haori cords. Nakamura Tadashi says, “The method of making kumi-himo has been handed down from generation to generation through trial and error. So, in this braided cord business, I am faithful to what has been handed down, and I do it with precision,” says Nakamura. Without being eccentric, the braided cords are to stabilize the obi or haori and to enhance the overall appeal of the kimono. Nakamura’s braided cords are so highly regarded that he now receives requests for haori cords from professionals and comic storytellers.

Fresh colors in tradition

The raw materials for the braided cords made in Nakamura’s workshop are silk yarns, and most of the plain dyed cords are dyed by Nakamura himself.

Nakamura says, “I dye while envisioning the shape of the finished braid. He says, “The color must be one that can be used to coordinate with a kimono. I am always looking for colors that have been around for a long time, but also give a fresh impression. How can we interpret tradition in the modern age and brush it up? The dyeing process offers a glimpse of such a quiet challenge.

Unique techniques and tools for kumi-himo

Braided cords are made in various parts of Japan, and each region has its own characteristics. Kyoto’s kumi-himo has a flamboyant coloring, reflecting the noble culture of the nobility. Edo kumihimo, on the other hand, reflects samurai society and merchant culture, and is unique in its use of subdued colors and the braided patterns created by the crossing of threads and yarns.

There are four main types of stands for braiding: round, square, twill bamboo, and high.

Hand-kumihimo, a technique that requires a fine sense of balance

The most typical stand for Edo kumihimo is the round stand. The first step in the process is to make a bundle of threads and tie it to a “kumitama” (braided ball).

As the number of threads per bundle is reduced and the number of balls is increased to 8, 16, 24, and so on, it takes more time to complete the braid, but more detailed expression can be achieved. Nakamura calls this “the number of pixels in a braided cord” in a modern way.

The strings attached to the braided balls are placed on a round stand and braided while crossing diagonally opposite strings. The braided cords extend downward each time they are braided because the braided cords are suspended by weights from holes in the upper board of the round stand, and the weights are gradually applied to the cords. This is the reason why Mr. Nakamura calls “kumi-himo is mechanics.

Nakamura says that good braided cords are “moderately tight and flexible,” and that machine braided cords tend to be too tight and hard. The proportion of machine braided cords has increased considerably due to the balance between cost and productivity of obijime, and almost all cords distributed are machine braided. The percentage of hand-knitted strings is really decreasing. That is why the value is found in hand-knitted strings, which have both the skill of braiding and the ability to determine the weight of the weight to be used,” he says.

In addition, the degree of twisting to give strength to the strings also affects the hardness of the finished product, so the degree of twisting must be adjusted one by one with fingertips. The difficulty of braided cords lies in how to balance these various factors,” he says. But the abundance of variations is the fun part of making things.

Inheriting tools filled with the wisdom of predecessors

In addition to the round stand, Mr. Nakamura also makes active use of the “Ayatake stand. Ayatake stands are used for weaving by inserting a weft thread to a warp thread, just like in weaving. While the beauty of the braid is accentuated by the use of a round stand, the ayatake stand is not as thick because it is hammered in with a spatula, and is characterized by its neatness and fine texture.

Mr. Nakamura is also in the process of repairing an old kumidai he inherited from a retired craftsman. The wooden gears mesh with each other to form a semi-automatic string. Mr. Nakamura hopes to pass on the wisdom of his predecessors.

Mr. Nakamura’s Aim for Kumihimo

Mr. Nakamura began learning to make kumi-himo at the age of 17. After two years at a crafts school, he became involved in the family business in earnest, but at first he was so absorbed in the process that he was not interested in the colors and designs. However, after she began to sell kimono at department stores and kimono stores, Nakamura’s mindset changed.

Obijime that enhances the beauty of a kimono

I went from looking at braided cords at home to actually meeting people wearing kimonos at demonstrations,” he says. From there, I became more and more interested in coordinating kimonos, and I got into making obijime,” he says. Mr. Nakamura is now particularly interested in kumi-himo, a type of braided cord. In addition to the functional aspect of a firm tightening, it is “an obijime that looks beautiful when combined with an obi and a braided cord.

Nakamura’s approach to making obijime with the idea of coordinating with kimono and obi in mind is as follows: “Subtract patterns and colors rather than adding them. Even a single color can be seen as expressive enough,” and the goal is “the beauty of the overall appearance of the kimono rather than an over-emphasis on the obijime. By doing so, he says, “Obijime that can be easily matched with various kimonos are created.

Nakamura’s style incorporates a modern sensibility into this basic stance. Nowadays,” says Nakamura, “a slightly thinner obijime is more popular. It gives a cleaner appearance,” he says. Nakamura says that the observation he has gained through demonstrations enriches his own sensitivity.

Handing down the culture of kumi-himo to future generations

Nakamura confides that the number of craftsmen in the world of kumi-himo is decreasing. Even if the younger generation is interested in kumi-himo, it would be a waste if they are forced to say that it is impossible for them to work with it. At least, I would like to lay the groundwork so that they can manage to make a living. The reason why he has started participating in traditional craft exhibitions is not only to brush up his skills, but also to have people recognize the quality of his work and to link it to a reliable sales channel. In fact, until now, he has dealt almost exclusively with wholesalers, but the number of kimono stores and other interested parties has increased, leading to the diversification of sales channels.

Mr. Nakamura also focuses on training his assistants. I think the great value of traditional crafts is that they can be handed down to future generations and continue to be made, even after my death,” he says. Edo kumihimo is the product of Nakamura’s will. It is sure to continue to beautify people’s outfits in the future.

The post Kota Nakamura of “Tadashi Nakamura,” an Edo-style braided cord company that enhances the beauty of kimonos and passes on the tradition to future generations / Matsudo City, Chiba Prefecture first appeared on NIHONMONO.

Isesaki City in Gunma Prefecture has long been known as a textile town. In its heyday, Isesaki was so popular that it accounted for half of the nation’s kasuri (patterned fabric) production, but today the kasuri makers have ceased to exist. Sadao Saito of “Kasuri Ryobo Saito” is working to keep the Isesaki kasuri tradition alive by passing it on as a Gunma Prefecture Hometown Traditional Craftsman.

Meisen made in Isesaki City, Gunma Prefecture, a textile town

Isesaki City, Gunma Prefecture, is located in the center of Gunma Prefecture and is rich in nature, connecting Gunma and Saitama prefectures across the Tone River. The city flourished as a sericultural area and has a long history of textile production, with textiles dating back to the 6th century excavated from an ancient burial mound.

The Isesaki kasuri, a simple yet chic kasuri or striped pattern, attracted attention. In the late Meiji period (1868-1912), a textile company was established in Isesaki, and power looms were introduced and some of the textiles were converted to factories. As the needs of the times changed, Isesaki kasuri became known throughout the country as “Isesaki Meisen” and production increased dramatically. From the Taisho era (1912-1926) to the early Showa era (1926-1989), “Isesaki Meisen” was so popular that one out of every ten Japanese women was said to wear it.

However, the times changed from Japanese to Western-style clothing. As the lifestyle of the Japanese people changed, production decreased and the number of producers also declined. Today, there are no more factories producing Isesaki kasuri. Sadao Saito of “Kasuri Workshop Saito” was so concerned about the situation that he decided to preserve the traditional technique of Isesaki kasuri.

One-man operation to preserve the traditional Isesaki kasuri weaving process.

Saito-san has been in the weaving business since he was a teenager, and at the age of 23, he set out on his own as a craftsman. Soon after becoming an independent weaver, Saito-san began working alone on the complicated Isesaki kasuri process, preserving the traditional technique and teaching it to a wider audience.

The reason for this is because, “In order to increase production volume and quality, the Isesaki kasuri process has been divided into separate operations, and people have been trained in each process to improve their skills. However, with the decline in production, the problem has arisen that if there are no successors in one process, products can no longer be made. He says.

Fearing that Isesaki kasuri would cease to be made, Mr. Saito decided to learn all the techniques of the Isesaki kasuri process, from designing patterns to kukuri (wrapping) and dyeing, and to become a person who can do all the processes to make his products.

While creating Isesaki kasuri, he teaches the techniques of all the processes he has learned to younger generations, and he also offers elementary school students in Isesaki City the opportunity to experience weaving Isesaki kasuri, thereby conveying the history and culture of the region.

Isesaki kasuri is protected by strict definition.

At one time, Isesaki kasuri took the world by storm. Production continued to decline, but fearing that this valuable traditional technique would fall into disuse, the company applied for and received designation as a national traditional handicraft in 1975. This led to the establishment of definitions and rules to clarify the differences between Isesaki kasuri and the kasuri of other regions.

The main definitions of Isesaki kasuri are “yarn-dyed,” “plain weave,” and “silk thread. In the dyeing process, we dye the yarn according to the pattern, using techniques such as kakuri kasuri, itajime kasuri, and nasen (textile printing) to create simple to precise kasuri patterns. The patterns of the dyed kasuri threads are adjusted by hand and woven to match the pattern.

Always striving to express new designs, Mr. Saito experiments by combining two or more techniques.

Weaving is a path of threads that keeps us in touch with the threads.

Mr. Saito says that he has to have perseverance in order to perform more than 10 processes all by himself.

I think you have to be a patient person to do the work of Isesaki Kasuri all by yourself. If you don’t think about what you really want to make and make it yourself, rather than imitating others, you won’t be able to improve your skills.

For example, when you want to make a stole, if you weave in thick yarn, a layer of air is created in the unevenness of the yarn when it is wrapped around the stole, making it warmer. Then, how can we put them in to create originality in terms of both function and design that no one else can imitate? Mr. Saito says the only way to solve this problem is to think about what you want to make in your mind and make it with your own hands.

People can teach you procedures and methods, but the only way to learn the “power” of technical skills is to try it yourself,” he says.

Mr. Saito has designed more than 1,000 kasuri patterns. He has kept all of them as proof that he actually created them with his own hands.

Warp and weft threads weave the vivid patterns

Of the yarn-dyeing techniques that are used to create designs by dying colors in the thread stage before weaving the cloth, Mr. Saito specializes in a technique called kakuri kasuri.

In kakuri kasuri, the part of the yarn not to be dyed is tied up with tape to prevent the color from entering the yarn. By using the warp and weft yarns made from the kasuri threads, the undyed and dyed portions blend together to create a unique pattern that looks as if it has been blurred.

Weaving with warp and weft threads that are both or either made with kasuri yarn and matching the pattern requires a high level of skill and experience.

The technique of dyeing the kasuri threads, and the use of the warp and weft threads and how they are used, create a kasuri expression that cannot be imitated by anyone else.

Mr. Saito spoke of the appeal of kakuri kasuri, and today he is the only person who has inherited the kakuri kasuri technique from Isesaki.

Keeping Isesaki Kasuri alive

The textile industry has declined with the passage of time, but Isesaki kasuri is undoubtedly one of the industries that contributed to the development of this region. Due to its complicated technique and time-consuming production process, the number of makers has decreased and there are hardly any people left who can make Isesaki kasuri using the traditional method. That is why Mr. Saito puts his skills and knowledge into his work and tries to convey Isesaki kasuri to as many people as possible as a valuable traditional craft.

The river flows fast and slow, and there is movement,” he says. I find things in nature that move interesting, and when I come into contact with nature, I am filled with endless ideas. I try to express patterns that are not regular, such as the way the kasuri pattern is blurred.

Not only Isesaki kasuri, but traditional crafts that require time and effort are disappearing in all fields amid today’s emphasis on efficiency. In such an environment, it would be reckless to carry out the time-consuming and labor-intensive process by oneself and pass it on to the next generation. Nevertheless, Mr. Saito’s desire to pass on the traditional techniques that have taken root and developed in the region to as many people as possible is reflected in Isesaki kasuri, a modern-day “meisen” (meisen).

The post Sadao Saito, Gunma Prefecture’s Hometown Traditional Craftsman, passes on the traditions and techniques of Isesaki Kasuri / Isesaki City, Gunma Prefecture first appeared on NIHONMONO.

Born and raised in Takayama, a town renowned for metalworking in Toyama Prefecture, the roots of this family trace back to a foundry artisan who served the Kaga feudal lord Maeda Toshinaga. As the third-generation Hata Shunsai, he creates tea kettles with a modern interpretation. While preserving tradition, he deliberately breaks away from conventional norms to propose tea kettles that harmonize with contemporary lifestyles. At the core of his work is the simple desire to “share the joy of tea with as many people as possible.”

Preserving tradition. The courage to challenge without fear.

About a 30-minute walk from the ruins of Takayama Castle lies Kanaya-machi, a town that has flourished as the center of Takayama’s copperware industry. The area is home to numerous shops specializing in “casting”—the process of pouring molten metal into molds to create shapes—and “metalwork,” the craft of creating decorative items from metal.

In this town, Mr. Hata was born into a family that manufactures tea kettles used in the tea ceremony. From a young age, he grew up watching his grandfather and father at work. His family traces its roots back to Kamaya Hiko-bee, a foundry artisan who moved to Kanaya-machi when Maeda Toshinao, the second lord of the Kaga domain, established his castle in Takayama. In 2010, Mr. Hata inherited the family name “Hata Shun-sai,” which had been passed down through generations.

The only material used is iron, where sensitivity and aesthetic sense come to life in the tea kettles.

In the world of tea ceremony, which values tradition, various materials such as stainless steel and ceramic have been used for tea kettles in recent years. Among them, Mr. Hata uses only iron. With a background in casting as a family business for generations, he deliberately limits his materials to iron, pursuing expressions that can only be achieved with this metal. “I want to highlight the unique presence of iron in the tea room,” he says with conviction.

This bold choice drives new challenges. Constraints are the source of innovation. He continues to face iron with unwavering dedication, never stopping his journey as the third-generation Hata Harusai.

His recent works combine a smooth texture, approachability, and a touch of sleek sophistication. They seem to effortlessly bring out the diverse expressions of iron.

See, touch, feel. Constantly refining his sense of style.

What he values most in his work is seeing and touching various things to cultivate his sensibilities. Needless to say, he draws inspiration from tea kettles, tea ceremony utensils, and other art and craft items on a daily basis, constantly updating his values. Sometimes he travels to distant places to learn more by talking with the makers themselves.

Another important practice is revisiting the works of his grandfather and father. He compares them with his own creations, constantly questioning the differences. By engaging with a wide range of works across eras and genres, he gradually incorporates these influences into his own creations. With the pride of a kettle maker in his heart, every day is a continuous process of trial and error.

Expanding with Collaboration

The tea ceremony embodies the Japanese spirit and sense of beauty. Among its various forms, tea gatherings have long been cherished as occasions to enrich time spent with loved ones. However, according to a survey by the Agency for Cultural Affairs, the number of people practicing tea ceremony peaked at 6 million in the 1990s and has since declined to less than 1.8 million today.

In response to this situation, Mr. Hata has been actively promoting the appeal of tea ceremony while continuing his work as a kettle maker. To dispel the image that tea ceremony is “formal and difficult,” he collaborates with other artisans to organize various events. His target audience is young people who have grown distant from tea ceremony, and he is exploring ways to spark their interest. His motivation is simply his desire for more people to enjoy tea.

The charm of tea ceremony lies not only in savoring tea but also in the unique exchange of experiences. At a tea ceremony, one can admire hanging scrolls and crafts, enjoy the scenery outside the tea room, and feel a sense of fulfillment through shared moments.

Recently, we have collaborated with Shimoo Design, a popular woodworker from Toyama, and Miyake Mai, a contemporary artist and sculptor. We propose arrangements that respect tradition while adapting it to the modern era. We strive to create works that are not valued simply because they are traditional, but because they are inherently appealing.

Making tea ceremonies more appealing. Never flashy, but expressing a unique worldview.

The unique presence of Mr. Hata’s teakettle. It is born from a deep understanding of the “role” of the teakettle as a tool, in addition to its beautiful shape. At a tea ceremony, the host arranges the furnishings according to the guests. Each piece must be balanced so that the host can offer a sincere welcome. If one piece stands out too much, it can completely change the atmosphere.

“I think of the tea kettle as the pillar of a house. It’s not something that seeks to be unusual, but it still demands a noble presence.”
The tea kettle stands at the center of the tea ceremony, supporting the worldview. Mr. Hata, who creates tea kettles that embody individuality while maintaining a presence as part of the tea ceremony, receives a steady stream of requests for his work.

Transcending traditional boundaries, creating a free and approachable tea ceremony.

Throughout the generations, the Hata Harusai family has adapted their craftsmanship to the times. The first generation, inspired by his wartime experiences, dedicated himself to creating tea kettles with the belief that “while I am alive, I want to leave something good behind.” The second generation built upon the first’s teachings, infusing innovative ideas to bring a fresh perspective. The third generation, in turn, added modern elements to highlight the tea kettle’s newfound charm.

“While the material we use is iron, we aim for works that are not just heavy and solid,” says Mr. Hatake with a gentle smile. The smooth texture that highlights the refined design evokes a sense of warmth. Even those unfamiliar with tea ceremony might find themselves reaching out to touch it, drawn by its approachable charm.

Iron, often perceived as heavy and rigid, actually combines strength and flexibility, transforming freely when heated. Mr. Hata’s work fully utilizes these characteristics. By adding new pieces to the world that values tradition, he may spark interest in tea ceremony among those who have never had the opportunity to experience it before.

Tradition continues to evolve. Enjoying tea in a casual way.

Every aspect of tea ceremony etiquette has a meaning. However, just as tea ceremony, which was once considered a pastime of samurai, became popular among the common people, it has continued to change with the times.

The era of mass production and mass consumption is over, and now we live in a time where it is important to cater to the needs of each individual. Flexibly adapting to changes in lifestyles and values is what leads to the preservation of tradition. Mr. Hata’s work is deeply rooted in this craftsmanship.

Tea ceremony was originally intended to be enjoyed with cherished people. While etiquette is important, the essence lies in the heartfelt desire to care for and entertain others. Mr. Hata’s ongoing efforts aim to capture the true spirit of tea ceremony and make it more accessible to younger generations. We look forward to seeing what innovative works he will create in the future.

The post Innovation to tradition.Kettle Master Shunsai Hatake, 3rd generation, aims for a new tea ceremony / Takaoka City, Toyama Prefecture first appeared on NIHONMONO.

Calm and gentle, with a solid sense of presence. The wooden trays created by Shibaji Ochiai, a woodworker, have the power to transform a landscape just by placing them there. We visited his workshop at the foot of Mt. Hira in Shiga Prefecture, where his works come in a variety of colors and shapes, and where he continues to receive orders from galleries and select stores nationwide.

Facing each piece one by one at the workshop in the forest in Shiga Prefecture

Minamikomatsu, Otsu City is located at the foot of Mount Hira on the west side of Lake Biwa. Mr. Ochiai’s workshop is located in a quiet forest with a clear stream running nearby. The site is also home to the workshop of his wife, Sachiko Yano, a maki-e and lacquer craft artist. Many of the houses that stand in the vicinity are vacation homes with few people coming and going, making it a perfect environment for the artist couple to concentrate on their work.

The northern area of Otsu City is home to many immigrants. Some people are engaged in manufacturing.

Incidentally, the northern part of Otsu City in Shiga Prefecture, where the Ochiai’s workshop is located, is close to the large scale nature of Hira Mountain and Lake Biwa, while Kyoto is only a 30-minute train ride away. The area is known for the large number of immigrants from outside the prefecture, especially those of child-rearing age. In addition, some of the newcomers are engaged in manufacturing, and the area has been attracting a bit of attention in recent years.

The word “craftsmanship” covers a wide range of activities, including artists like Mr. and Mrs. Ochiai, gallery and restaurant operators, designers and writers, and new farmers, etc. Mr. Ochiai, who is from Kyoto, chose this location for his workshop 10 years ago by chance. He says he likes living here, where nature is close by and it is easy to get out to the city, because it provides a good stimulus for his life as a writer, which tends to be solitary while he works.

He never took up an apprenticeship, but established his own style as a woodworker in his own way.

In 2000, Mr. Ochiai completed the lacquerware course of the Kyoto City Training Program for Traditional Industry Technicians, and in 2001, he learned the basics of woodworking at awoodworkingschool run by the Jyurinsha woodworking shop in Kyoto’s Minami Ward, which was known for its famous woodworkers. The following year, he expanded his style by learning the woodworking wheel from the late Uzuo Ogura in Eigenji, Shiga Prefecture, known as the home of woodworkers.

I was not born into a family of traditional craftsmen, so I entered the world of woodworking without knowledge or tools. I didn’t have the opportunity to apprentice myself to anyone in particular, so I guess you could say that I created my own style using the techniques and knowledge I learned from many people in different places,” he recalls.

From lacquered bowls to trays. The enjoyment of creation has expanded.

Mr. Ochiai, who studied lacquer ware in Kyoto, says that when he first started his career, he mainly made lacquered bowls. However, he says that he began to feel ” stuck” with the bowls he was making.

The reason, he says, is that it was difficult to add original individuality to bowls whose size, shape, and use were fixed to some extent. Rather than designing by painting or lacquering, Mr. Ochiai wanted to pursue expression by utilizing the individuality and texture of the wood, and began to explore options other than lacquered bowls.

One of the major clues he found was the ” kurimono ” technique he learned at the Jyurinsha. Using the technique of kurimono, in which a single solid piece of wood is carved out with a chisel and a planer, Ochiai creates trays in a variety of colors, shapes, sizes, and types of wood.

While it is important to know the characteristics of each type of wood and how to handle it, including its characteristics and how to cut it, there are relatively few other rules governingthe making of wooden trays, which allows for a high degree of freedom. He finds this appealing, and says that he enjoys making trays even more than before.

Trays that are “free” for the user as well

It seems that Mr. Ochiai’s wooden trays are just as free and exciting for the user as they are for the creator himself.

A search for “#Ochiai Shibaji” on social networking sites reveals that some people use the trays in the style of a Japanese course meal, others in the style of a home meal, others in the style of entertaining by placing a small amount of food on several small plates, others in the style of a cafe with a cake and coffee on a small tray, and still others display the trays with their favorite dishes on them instead of using them for a meal, Some people use the tray to display flowers in a vase.

It can also be used as an oshiki, a tray that is used to create a special atmosphere and for entertaining, or as a casual tray for drinking alone. Its use is up to the person who has it. Such freedom seems to be attracting fans all over Japan.

Design inspiration comes from “old things

Ochiai’s trays add a sophisticated atmosphere when combined with Japanese items such asearthenware,sake cups, and bamboo baskets for serving Japanese food, and an exquisite calmness when combined with Western taste such aslinen cloths,Western tableware, and wine glasses.

Such versatile designs are often inspired by “old things. For example, old pottery, antique tools, Yi Dynasty ceramics, and crafts, as well as non-woodworking objects, are also useful references. Ochiai often goes to antique markets in Kyoto, less than an hour away from his studio, to find inspiration.

Handcrafting a single solid piece of wood

The distinctive feature of Ochiai’s work is the meticulous finishing, which is done by hand with a round chisel, leaving a solid hand-carved mark. Machines are used to cut large boards to the required size, rough carve, and form outlines, but the rest of the work is done by hand. He says he loves the “imperfect beauty” that only human hands can produce, which gives the piece a slight sense of fluctuation.

The key to shaving is ” to carve with the same tension. He says, “The key to carving is to carve with the same tension.” He says that the carving is finished beautifully when it is done in a straight line, with the same rhythm, thickness, and depth. He showed us the actual carving process, which was light and speedy. However, even on the same piece of board, there are hard and soft parts, so the carver adjusts the amount of force each time while carving. He repeats this process over and over again.

This might give the impression of monotonous work that requires a lot of patience, but Mr. Ochiai laughs, “My hands get sore, but strangely enough, I never get tired of it. He says it is interesting to see the grain patterns gradually take on a three-dimensional appearance as he carves. I could tell that Ochiai loves the time he spends working with his hands and facing the wood.

Perhaps it is because of this that when I look at or hold one of Mr. Ochiai’s wooden trays in my hands, I feel a sense of happiness that fills my heart with a sense of serenity. They are elegant, yet somehow gentle and warm.

Bringing out the individuality and expression of the wood

Another important point in Mr. Ochiai’s style is to ” bring out the original character of the wood.

Ochiai’s wooden trays are made of various types of wood, includingchestnut, cherry, zelkova, mizume, yellow cedar, and tabu. They come in a wide variety of colors, including deep black, soft beige, dark brown, reddish brown, and strong yellowish ochre. In some cases, oil finishes are used to bring out the original color of the wood, while other finishes such asiron-borne dyeing, ammonia smoke, and fuki-urushi (wiping lacquer) are used to add variety. They are constantly introducing new methods while considering the compatibility with the type of wood they are using.

No matter what type of finish is used, however, the artist insists on bringing out the individuality and expression of each type of wood. For this reason, the most commonly used finish is oil, which brings out the true color of the wood. When lacquer is used, the lacquer is not applied in a glossy lacquer finish, but rather is wiped off to finish the wood.

Splits and Knots are Also Part of the Wood’s Character

Ochiai also makes use ofknots andsplits in wood, which are often regarded as defects in wood, in his work. He says that when he cuts a large piece of wood and obtains 10 boards, there are usually 2 to 3 boards with knots or splits in them, but he wants to use them instead of throwing them away.

Knots, which are at the base of the branches of the tree, appear as a circular pattern when the wood is milled into boards. Although knotty boards are often avoided because they reduce the strength and appearance of the wood, Mr. Ochiai says they are interesting and tasteful. In fact, many people like trays with knot patterns and choose them.

The same goes for the cracks in the wood, which are used to accentuate the design of the piece. Compared to soup bowls and buckets, trays can be made without worrying about water leakage.

The Goodness of Things That Cannot Be Mass-Produced

The style of production that makes full use of wood, which is now a precious commodity, and the beauty of daily utensils made with exquisite handcraftsmanship have the power to appeal to many people, especially in this age of information and goods.

Mr. Ochiai has held exhibitions throughout Japan, but his guides to these exhibitions include a request for a limit on the number of items that can be purchased. Because most of the process of carving is done by hand, it is difficult to mass-produce his works.

Therefore, the purchaser must face the individuality of each piece and find the one that is right for him or her. It is not difficult to imagine that this process creates an attachment to the piece and that it will be used with great care for a long time. It is only natural wood that can ” grow up ” with the depth of color as it is used.

The wooden trays created by Mr. Ochiai’s hands, while not perfect, have a certain beauty that makes us happy every time we use them, and they will be a small comfort in our hectic days. I felt as if I had seen an answer to the question of what crafts, which have been refined over time and through skill, can bring to people living in this era.

The post Hand-carved trays with “beauty that is not perfect. Ochiai Shibachi’s wooden tray that grows with time / Otsu City, Shiga Prefecture first appeared on NIHONMONO.

Fewer and Fewer Glass Blowing Workshops Today

In the 1950s, there were more than 50 glass studios in Tokyo. One of them is Tajima Glass, established in 1956 in Edogawa Ward, Tokyo.

Tajima Glass Co., Ltd. is a workshop that handles “Edo glass,” which has been handed down since the Edo period (1603-1868). Edo glass is handmade using traditional techniques from the Edo period (1603-1868), and when it is faceted, it becomes Edo faceted glass.

Edo faceting is so famous that it is now designated as a “traditional craft” by the national government, making it highly valuable to preserve for the future.

Fuji glass” that triggered its popularity

My grandfather, who was a watchman, started his own business. He started by renting a workshop at first. In the old days, coal was indispensable for glass production, so many workshops were built along riverside areas where it was convenient to transport coal,” says President Daisuke Tajima.

When we visited the workshop, we found many craftsmen sweating and blowing glass in the old-fashioned kiln. The company continues to produce traditional Edo faceted glass, but it is the “Fujiyama Series” in the shape of Mount Fuji that has made Tajima Glass Co. The company’s beer glasses, sake cups, rocks glasses, and other drinking glasses are popular as souvenirs among foreigners.

Fuji was registered as a World Heritage site, the hotel asked us to make some glasses for them. Fuji was registered as a World Heritage site. At first, we made beer glasses, and they were such a hit that we made a series of them. Thanks to your support, we are now in such a state that we can’t keep up with production.

In this way, the company is not limited to traditional Edo faceted glass, but is also focusing on glasses that are fashionable for everyday use in the shape of Mt.

Evolving the quality of glass and bringing it into the modern age

The showroom displays a variety of glassware, from traditional Edo faceted glass to custom-made products. The ability to respond to a wide range of orders is one of the strengths of Tajima Glass, which makes its products by hand.

Tajima Glass is able to meet a wide range of orders, which is one of the strengths of the company. I believe that we must protect this technology, even in these difficult times for glass,” he said emphatically.

His passionate wish for more people to be able to easily pick up glassware is probably the main motivation for him to continue making various products even in this difficult situation.

Traditional techniques are necessary to create the unique beauty of glass. It also requires the passion and ideas of craftspeople to keep it alive in the modern age. The combination of reliable techniques and the passion of craftsmen who want their products to be used by people of all generations is the driving force behind Tajima Glass Co. We look forward to seeing Tajima Glass continue to use its traditional techniques to bring new ideas to life.

You can also read more about Tajima Glass here.

The post Preserving the warmth of Edo faceting in a different form for the modern age Tajima Glass Co. first appeared on NIHONMONO.

Kisarigeki Kiln is a pottery kiln that uses materials mainly from within Iwate Prefecture to create pottery that brings out the best of the materials.
Using a variety of techniques, they skillfully express the beauty of the Iwate region in their pottery. The warmth and strength of the clay and the ease of use in everyday life make their pottery a must-see.

A studio that produces warmth

Morioka City is located in the center of Iwate Prefecture. The Takamatsu Pond there is known as a swan flying site. Yuichi Yukinoura’s pottery studio, Kisaragi Kiln, is located on a hill adjacent to the pond. Mr. Yukinoura studied mathematics in the Faculty of Education at Iwate University, but majored in art as a minor. He studied classical painting, including frescoes, and after graduating from the mathematics department, he took a special art course and studied pottery in Nopporo, Hokkaido.

When Nakata commented on the “softness” of the tableware and other pieces lined up in the studio, Yukinoura said, “I am often told that they are warm. Indeed, the works on the shelves all have a simple warmth that comes from the relaxed nature of the clay. Yukinoura creates such tableware every day, which would be comforting to have on one’s dining table.

Using Local Products from Iwate

The dishes are only as good as the people who use them, ” says Yukinoura. I think it’s no good if you can’t make everyday tableware,” he says. Although he sometimes creates so-called “works of art” for exhibitions, at the core of his work is his commitment to making everyday vessels. This feeling can be sensed in the fact that he creates dishes that are not only stylish in appearance, but also easy to use.

Yukinoura also makes ceramics using as much as possible materials from Iwate, such as soil and ash. Most of his pottery is made of clay from Tono, Hanamaki, and Shiwa, but he also blends in a little fire-resistant Shigaraki clay for strength. He also uses apple ash to create a unique texture by layering the ash glaze over and over again in varying proportions to give it a glass-like thickness. Lacquer is also used as a glaze for ceramics. The surface of the finished piece is then lacquered with lacquer to prevent it from absorbing moisture during use.

He searches for materials in the wide area of Iwate Prefecture and always enjoys variations of clay. He is constantly experimenting with how to make the most of its completely different expressions.

Nakata is also fascinated by the pottery experience.

Yukinoura-san uses a variety of techniques, including rokuro (potter’s wheel), hand-building, and mold making, but this time, he allowed us to try our hand at making pottery using the tatara technique. The tatara technique is a method of forming a sheet of dough into a shape. It is a different and more difficult process than using a potter’s wheel, where a lump of clay is formed into a shape.

The shape must be changed slowly and gradually during the molding process, or else it will become distorted. Also, if the force applied for shaping is not uniform, tempering will occur during the firing process, which is another cause of deformation.

Nakata also took advice on how to shape the pieces little by little. He found himself so absorbed in the process that he ended up making two bowls and even a flat plate. Once the molding is done, the final step is to put a pattern on it and it is done. We are looking forward to seeing the finished product.

Ms. Yukinoura is trying to convey the simple and warm presence of clay that we have almost forgotten through her works. The design of his tableware, coupled with his desire to convey this warmth, will become a part of our daily lives.

I work hard every day, hoping that the works of Kisaragi Kiln will enrich the lives of those who use them. I hope that my works will enrich the lives of people who use them.

The post Pottery that brings warmth to everyday life: ceramic artist Yuichi Yukinoura / Morioka City, Iwate Prefecture, Japan first appeared on NIHONMONO.

Artisans behind historic buildings

Hida Takayama is located in the northern part of Gifu Prefecture. Surrounded by lush forests, this area has nurtured many artisans called “Takumi,” who have been at the forefront of Japanese woodworking and wooden architecture for about 1,300 years. In the Nara period (710-794), the high level of their skills was recognized and a special “Hida Takumi System” was established, under which about 100 Takumi were exempted from taxes in exchange for being dispatched to the capital annually.
Since then, as the company continued to work on historical buildings and develop its traditional culture, it has produced crafts such as “Hida Shunkei” and “Ichii Itto Bori”. About 100 years ago, the western furniture technology of “bent wood” was introduced to Japan, and through trial and error, it was fused with the traditional skills of the master craftsmen. As Japanese people’s eating habits changed from chabutai (table-top table) to dining sets, Takayama’s furniture craftsmen developed their expertise in wood furniture with high design and functionality, and Takayama became recognized by all as one of Japan’s leading furniture production centers. Even today, Takayama continues to attract more and more fans of “Takumi” both in Japan and abroad.

Adapting traditional crafts to modern life

Masashi Osawa, who was born in Hino City, Tokyo, moved to Takayama in his early 20s, studied woodworking techniques at a vocational training school, and then worked for a furniture manufacturer as a furniture craftsman. He bought an over 80-year-old old house and started his own workshop, Maru Kogei, there.
At first, he made wooden furniture, but as he pursued the technique of bending wood, he received orders and began making oval boxes called “oval boxes. The oval box originated as a piece of furniture created around the 19th century by the Shakers, a Christian sect that believed that beauty resides in usefulness, through careful handcrafting. It is a simple storage box made by bending thin wood. Many manufacturers and craftsmen began to produce replicas of the original, and the product gained popularity among a wide range of people and became known as a fashionable sundry item that blends in with daily life.
This is reproduced in Mr. Osawa’s style. The key is the bending technique he developed during his time as a furniture craftsman. Thin, solid hardwoods are steamed at high temperatures to soften them, placed in molds to fix them in place, and then dried to create supple, beautiful curves. The process is not a simple one, as it requires millimeter-by-millimeter adjustments to accommodate the different wood grains and moisture content of each piece of wood. To prevent the wood from warping or floating, the joints are made in a form known as a “swallow tail,” and the pieces are carefully pasted together one by one. The wood is cut out using a small knife with exquisite precision, and the soul is put into every detail. The works, which embody perfect functional beauty and are stripped down to the utmost limit, have attracted many fans and are sold out almost without ever being displayed in stores.
Another of Osawa’s styles is to reconstruct traditional crafts to suit modern lifestyles. He also creates wooden tissue cases with beautiful, graceful curves by applying bending wood technology and mirrors fitted inside wooden frames with magnificent circles, pursuing a stylistic beauty that combines rationality and originality. His next goal is to create pieces that will last for 100 years. I just want to create something that I can truly appreciate as beautiful,” he says. The wish of a modern master craftsman who has inherited the will and techniques of his predecessors is as simple and incomparably pure as the appearance of his work.

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